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王维的“终南山”:兼论盛唐山水诗的转型
ON the ZhongNan Mountain Poetry of WangWei and the Transformation of Landscape Poetry in the High Tang Dynasty
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- , 2018,
Abstract: 王维创作了一系列终南山诗歌,其中不少篇章体现了王维乃至盛唐山水诗的最高成就。全面考察《诗经》、汉赋、六朝诗歌中歌咏终南山的篇章,以此为基础,对王维的终南山诗从意象、意境及创作思维诸方面进行深入考察和解析,可以较为清晰地勾勒出山水诗产生、发展及嬗变的轨迹,由此可以更准确地把握盛唐诗歌独特的美学风格及其典范意义。盛唐诗人将不涉理路、排除知性干扰的纯自然山水诗创作发挥到了极致,为后世提供了一种极具艺术精神的思维方式与审美理想。
WangWei created a series of ZhongNan Mountain Poetry,many of which represent the highest achievements of himself and also of the landscape poetry in the High Tang Dynasty. On the basis of comprehensively examining the chapter of “ZhongNan Mountain Poetry” in the Book of Songs, Han Fu and the Six Dynasties, I made an in-depth investigation and analysis of Wang Wei's Zhongnanshan Poetry in terms of imagery, artistic conception and creative thinking. In this way, we can more clearly sketch the trail of the production, development and evolution of landscape poetry, and thus can more accurately grasp the unique aesthetic style and its exemplary meaning of poetry in the High Tang Dynasty. The poets in Prime Tang bring the pure natural landscape poetry creation which excluded the rational interference to a climax, at the same time, it provided an artistic way of thinking and an aesthetic ideal for the later generations.
多重张力下的母爱合奏——论嘉道时期大型征诗题诗集《断钗吟》  [PDF]
彭国忠
- , 2017, DOI: 10.16382/j.cnki.1000-5579.2017.06.009
Abstract: 摘要 嘉庆、道光、咸丰朝近五百名诗人题咏、数量超过七百首的诗集《断钗吟》,是清代嘉道时期,汤贻汾为称颂其母苦节教子之美德而手绘《吟钗图》卷,广泛征诗,汇刻的题画诗总集。它以歌颂母爱、彰扬母德为核心内容,在诗才与节德的对立及弥合、故物存在时间的有限与情思的无限、共同主题的男女异咏诸方面,汇集着对立而又相互联系的力量和意义,体现着巨大的诗歌张力,是多重张力构成的母爱合奏,净化了诗坛风气,丰富了诗歌主旨及表现力度。
Abstract:Eulogies about a Broken Hairpin is a poetry anthology comprised of more than 700 poems written by nearly 500 poets during the period of Emperors Jiaqing, Daoguang and Xianfeng in the Qing Dynasty. During the regimes of Jiaqing and Daoguang, TANG Yi-fen widely solicited poems for his painting "Eulogy about a Hairpin" in order to eulogize the virtue of his mother who struggled for chastity and educated him and his brother after the death of his father. Finally a painting poetry anthology came into being. The anthology, with the main purpose to extol maternal love and advocate maternal virtue, reveals the opposite and complementary relationship between poetic talent and virtue, and the contradiction between the finite existence of things and the infinite affection of human beings. The poems of the same topic written by female and male poets in the anthology also demonstrate opposite and related power and meanings. The anthology with magnificent poetry tension was an ensemble of maternal love, which purified the ethos of poetry circle, increased the variety of themes and strengthened the expression of the poetry.
柳晟俊“性情为贵”的唐诗研究特点
Shengjun Liu’s Research Characteristics of “Temperament Is Expensive” on the Poetry of Tang Dynasty
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王志清
World Literature Studies (WLS) , 2015, DOI: 10.12677/WLS.2015.34021
Abstract:
柳晟俊是韩国著名中国古典文学研究专家,研究成果甚丰,而唐诗研究影响尤大。其唐诗研究,从王维研究入也从王维研究出,以王维研究为突破点与重点,生动反映了他对中国诗学的认同与接受,即化理为情、以情化理而情理互融相生的诗学模式,具有对于中国诗学忠实的承传性,是中国诗学的主流话语,具有鲜明的诗性研究精神。而其逻辑思维的学术套路,始终以清代“神韵说”为理论依托,也因袭了中国诗学的以禅说诗的思路与价值取向,讲究“离象得神”、“披情着性”、“入妙通玄”。他所最擅长采用比较研究的方法,使其研究视域大开,也使其研究进入了纵横捭阖的自由境界,不仅广泛涉及唐代诸多诗人,而且立足本土而联系上韩国的历代诗人,使其外国文学研究立足于本国文学研究之上。这也形成了他研究的诗性特点,轻盈而灵通,互为比照,顾盼生姿,进入了比较文学的一个更深更广的理论层面。
Shengjun Liu is a famous Chinese classical literature expert in South Korea, and his research is very abundant, of which the study of Tang poetry has a great influence. His study of Tang poetry starts from the research of Wangwei and also develops in Wangwei research, which is his break-through point and focus. It vividly reflects his identification and acceptance of Chinese poetics: the poetics model of transforming reason into emotion, emotion into reason, and thus integrated emotion and reason. It is the inheritance of Chinese poetry, and the mainstream discourse of Chinese poetics, having a distinct poetic spirit. His academic routines of logic thinking are always based on the “charm theory” in Qing Dynasty, inherit the Dhyana ideology’s poetic ideas and values of Chinese poetics, and pay attention to “li xiang de shen”, “pi qing zhuo xing”, and “ru miao tong xuan”. He is best at using comparative studies, making his research expand and go into the freedom realm. His research involves not only a lot of poets in Tang Dynasty, but also the poets in South Korea, making the foreign literature study establish above the local literature research. So poetic characteristics in his study are formed, which are light, well-informed, and mutual comparison, coming into a deeper and wider theoretical level of comparative literature.
Words Characteristics of Tang’ Epitaph  [PDF]
Tongxuan Jiang
Open Journal of Modern Linguistics (OJML) , 2015, DOI: 10.4236/ojml.2015.54030
Abstract: The total number of words that we have collected in the text of Tang Dynasty epitaphs is four million or so. Tang’s epitaphs contain abundant cultural vocabularies, among which some are rooted from the former dynasties and some are formed in Tang Dynasty, while others are produced previously and then transferred or evolved in Tang Dynasty. This paper aims at researching Tang’ epitaph expressions, hoping to summarizing their characteristics.
论《宋诗精华录》所选东坡诗  [PDF]
胡晓明
- , 2017, DOI: 10.16382/j.cnki.1000-5579.2017.06.008
Abstract: 摘要 苏轼诗歌,既是宋诗之典型,需以一种最大化的方式,来呈现宋诗的精彩;也需以一种最恰当的解释,来说明宋诗的典范。因而,唐宋诗比较的角度,无疑是一个最为适合表现苏诗之精义的解释框架。东坡其人其诗,完全可以成为唐宋比较的标本。文章以陈衍《宋诗精华录》所选东坡诗为典型,从雅兴高致的心灵境界、瘦硬通神的山水写意、世俗人生的静观细省、化解悲哀的慧命双修、理趣成为人生戏剧以及由虚入实的现实世界六个方面,作唐宋比较。既力探石遗的评赏与圈点的幽旨,亦融合学界与个人唐宋诗观,力图发展出一套系统深入的苏诗比较论述。
Abstract:As a model in the Song Dynasty, SU Shi's poetry shall be appropriately interpreted to demonstrate the paradigm and excellent achievements of the poetry in the Song Dynasty. A way to present the essence of SU's poetry is to make a comparative study of poetry in the Tang and Song Dynasties. The personality and poetry of SU can definitively serve as a model. This paper makes such a study by examining SU's poems in CHEN Yan's Selected Poetry in the Song Dynasty from six aspects, that is, elevated mind, impressionistic paintings of mountains and water with firm strokes, deep insights into the worldly life, the cultivation of wisdom to relieve grief, theoretical taste dramatizing life and the real world transcending the void. This paper tries to develop a systematic and profound comparative study of SU's poetry by exploring CHEN Yan's comments and combining the views of the author and other scholars in the academic circle about poetry in the Tang and Song Dynasties.
梁武舍道事佛与唐代三教论衡
On Emperor Liang Wu abandoning Taoism to BuddhismThree-religions Debate in the Tang Dynasty
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刘林魁
- , 2015, DOI: 1672-3104(2015)01-0234-06
Abstract: 摘 要: 梁武帝舍道事佛是中古思想文化史上的一大疑案,但此一说法真正被关注是在唐代。与其斤斤计较此说的真伪,不如从唐代宗教文化环境中考察其发生与功能。从现存文献来看,唐代帝王史臣在反思南北朝政教关系的潮流中,将梁武帝崇奉佛教与萧梁亡国联系起来,道教徒也乘势将此提升为佛教亡国论,但梁武帝舍道事佛并未被儒、道二教关注。唐初佛徒对儒家、道教的批判采取了不同的回应方式,梁武帝舍道事佛主要承担起了抨击道教的使命,但受儒、道联合批评佛教惯例的影响,此事同时具有了扬佛、抑儒、贬道的宗教功能。唐代佛徒对梁武帝舍道事佛的叙事突出了宗教对抗关系,这是对傅奕等道教信徒攻击佛教的响应。
Abstract: It is a great mystery in the history of medieval culture that Emperor Liang Wu adandoned Taoism, which, however, became a special concern in early Tang Dynasty. The article proposes that, rather than commenting on whether the event was true or false, a better way of working out the mystery is to investigate its happenings and functions in the religious and cultural context of Tang Dynasty. Judging from the existing literature, emperors and ministers connected Liang Wu’s Buddhism worship with the national subjugation, which was taken advantage by Taoists who propagated that Buddhism resulted in the subjugation. However, the event itself of Liang Wu’s abandoning Taoism to Buddhism has not been paid any attention to by either Confucianists or Taoists. In early Tang Dynasty, Buddhists responded in a different way to both Confucianist and Taoist criticisms, believing that the event itself was undertaking the mission of attacking Taoism. But influenced by the practice that Confucianism and Taoism collaborated in criticizing Buddhism, the event also functioned in glorifying Buddhism, suppressing Confucianism and diminishing Taoism. The Buddhists’ narration of the event in Tang Dynasty highlighted the adversial relations among the three religions at the time, and the event was a response from Taoists like Fuyi
“望今制奇”:孟郊诗的新变取向  [PDF]
范新阳
- , 2015,
Abstract: 处中唐之世,受崇尚主观的佛、道二教影响,受追求瘦硬的审美风尚濡染,受皎然主变诗学观的启发,孟郊诗表现出崇主观、尚瘦硬、求理致的新变取向。其“崇主观”,主要表现在诗歌意象的创造,从“文章得其微,物象由我裁”的认识出发,孟郊构拟了山水组诗以及与韩愈联句中的奇崛意象,奠定了“韩孟诗派”的险怪基调。其“尚瘦硬”,主要表现在锤炼狠重有力的字眼,选用质地坚硬的物象和采用奇险斩截的形式。其“求理致”,主要表现为借象明理、以情驭理和语参道佛。孟郊诗的新变取向,已开宋诗之先声。
In the mid-Tang Dynasty, due to the influence of Buddhism and Taoism advocating subjectivity, the aesthetic taste for simplicity and harshness, and the inspiration from Jiao Ran’s views on poetry characterized by seeking changes, the poems of Meng Jiao displayed a relentless pursuit of subjectivity in image creation; simplicity and harshness in style; and reason in philosophical underpinning. In terms of images in poetry, Meng Jiao created a large number of series of landscape poems and usual images in the poems co-authored with Han Yu, setting the gloomy and eccentric tone for “Han-Meng” poetic school. Also, he preferred forceful and harsh words and images of a solid texture in a theme-oriented form. Moreover, he pursued rational thinking through explicating his ideas with images in nature, expressing his strong emotion and drawing wisdom from Buddhism and Taoism. In a word, innovations in Meng Jiao’s poems predicted the poetic taste of the Song Dynasty
天台宗僧诗创作传统考论
On the poetry creation tradition of Tiantai Sect
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张艮
- , 2018, DOI: 1672-3104(2018)04-0171-11
Abstract: 摘 要: 唐宋时期,天台宗形成了不同于禅宗的独特的僧诗创作传统。首先,天台宗诗僧有着文人化的生活方式,诗歌则充满世俗化的内容,不同于禅宗诗偈;其次,天台宗诗僧喜用五言律诗,注意锤炼中间二联,禅宗僧人则喜用杂言和七绝来表达参禅的感悟;再次,天台宗僧诗表达的情绪往往极为节制,多显得灰寒和冷寂,而禅宗偈颂多张扬、热烈。天台宗僧诗创作传统长期被遮蔽,一方面是因为天台宗智 之后的一段历史被误解,导致此一时期众多诗僧的天台宗背景被人们忽略;另一方面是因为禅宗的兴起影响了人们对天台宗的关注,使得学界对僧诗中的“禅”字以及禅意产生了误读。从佛教宗派角度出发,考察天台宗的僧诗创作传统,既可以揭示和避免佛教文学研究中存在的不足,又能还原天台宗的僧诗创作在文学史上的本来面貌。
Abstract: During the Tang and Song Dynasties, Tiantai Sect formed a unique Buddhist poetry writing tradition that differs from Zen. Their tradition manifests three characteristics. First, Tiantai Sect advocates the literati's way of life, and their poetry is full of secular contents, unlike Zen poetry. Secondly, Tiantai Sect prefers the five-character octave with emphasis on the two verse lines in the middle, while Zen monks prefer confessions and quatrains to express the sentiments of Zen. Thirdly,Tiantai Sect expresses its emotions in an extremely restricted way, often grey and cold, while the Buddhist hymn of Zen is becoming more prominent and warm. The tradition of the poetry creation of the Tiantai Sect has long been obscured, because on the one hand, a certain period of history after Zhiyi of Tiantai Sect was misunderstood, which led to the negligence of the Tiantai Sect background of many poets during this period. On the other hand, the rise of Zen influences people’s attention to Tiantai Sect, which made the academia misunderstand the "Zen" in the poems. From the perspective of Buddhist sects, the study on the poetry creation tradition of Tiantai Sect can not only reveal and avoid the deficiencies in the study of Buddhist literature, but also restore the original facet of poetry creation of Tiantai Sect in the history of literature
从情辞关系看《采菽堂古诗选》的诗学思想
Poetic theory in Cai Shu Tang Selection of Ancient Verse seen from emotional phrase structures
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张伟
- , 2016, DOI: 1672-3104(2016)03-0172-06
Abstract: 摘 要: 《采菽堂古诗选》是清初诗论家陈祚明评选的先唐古诗选本,其理论核心是情辞的相互关系。陈祚明认为好诗当以情为主、情辞兼备。他所崇尚的“情”是能同化他者的普遍之情、同有之情,且当以含蓄宛转笔法出之。他认为虽人人皆有情,但唯有“心敏”“笔快”之天才,方能道出同有之情。他着重关注诗歌的语言,主张“择辞而归雅”。其“雅”主要就语言形式而言,与儒家诗教所强调的思想内容无涉。文质之辨、质华之辨,皆归于雅。陈祚明的诗学思想源于刘勰,针对七子派、公安派、竟陵派的弊端采取了折衷调和的策略,目的是使学诗者走上“诗工”之路。
Abstract: Cai Shu Tang Selection of Ancient Verse was a poetry anthology of Pre-Tang dynasty, selected and commented by Chen Zuoming. Its core is the relationship between emotions and phrases. Chen Zuoming believes that good poetry should be based on emotions with appropriate expressions. His “emotions” are the empathy and general feeling which can assimilate the Other, and should be expressed subtly and tactfully. He believes that although everyone has emotions, but only the sensitive and quick-minded genius can express such empathy. He emphasizes diction, claiming that poetic diction should be elegant, that its elegance lies mainly in the form of the poetic language with nothing to do with the content that Confucianism stresses, and that all the philosophy and essence of poetry lie in such elegance. Chen Zuoming, mainly deriving his poetic ideas from Liu Xie, adopts the strategic compromise to reconcile the poetic genres in the late Ming dynasty, intending to enable novices to master methodology to compose good poetry
唐诗廊意象的意涵及审美功能探析
On the aesthetic function of porch images in thepoems of Tang Dynasty
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石润宏
- , 2015, DOI: 1672-3104(2015)05-0190-08
Abstract: 摘 要: 唐诗中的廊意象,因为廊的悠长、通透等建筑学特性,而含有闺怨与怀古、孤寂与落寞、幽隐与安闲的丰富意涵,这些意涵反映了诗人不同的心绪。也因为廊的这些建筑学特性,诗人在廊下漫步时往往多有诗兴。廊与动词、形容词的组合运用,丰富了唐诗的语汇,使唐诗的美感更为出彩。园林学中的廊还具有“借景”的审美功能,体现了古人移远就近的空间意识。这一功能在唐诗中多有体现,并生发出了“意余于象”的空间美学效果。
Abstract: Because of the architecture characteristics of porch, the porch images have rich connotation in the poems of Tang Dynasty, such as boudoir repinings, loneliness and desolation, seclusion and leisure. Also because of this reason, poets strolling along the porch are more sentimental and poetic. Porch images are often used together with verbs and adjectives so that the beauty of those poems is more effective. Porch has a kind of function called “Jie jing (借景)”, which means drawing on the scenery from a distance. This function, reflected more in the poems of Tang Dynasty, shows the space consciousness of ancient Chinese, and issues an aesthetic effect called “Yi yu yu xiang(意余于象)”, that is, evoking certain meaning through images
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